LAUSR

questioning the role of self in society as both viewer and viewed. Is “two” really better than one . . . in the world dominated by capturing of millions of images every second, perhaps there is no limit to the subversive “macro”-scope of everyday life we unveil to the public. I would recommend this book for the academic fields of anthropology, creative practices, urban studies, history, creative placemaking, and visual studies in all forms. The book should particularly be required in academic settings that are researching the destabilization of cultural monument placings/creations throughout time. It also can be considered a training tool for any practitioner considering the role of public art placemaking and creation of “monumental” works of art to be placed in the public realm. The inclusion of the public practice of the “audience” and their reflections seamlessly intermixed throughout the book is the thread of humanity (and open dialogue) that is always needed in artwork in the public sphere. Often, and what has led to problems, is the lack of inclusion and constructive critique when proposals are made for placing creative (or historical) monuments in a public location. The dialogue of the book enables back and forth conversation, allowing the reader to flow through the process of all of the projects and through the eyes of many of the audience who has chosen to lend their views to the project. The journey of the book is accessible and intelligent and I look forward to a follow-up exhibition and dialogue in the future. Heritage and history are challenged each and every day and the dialogue presented in Monument Lab: Creative Speculations for Philadelphia should be a conversation that continues globally in every urban environment.